February222005
Filed Under Improv
Though they aren't pranksters with a point, the creators of Improv Everywhere have some inventive shenanigans that keep their victims from being, um, victims. I'm a little sick of stunts pulled just to annoy people... unless you have good targets (like the fashionistas and homophobes selected by "Bruno" on Da Ali G Show) the person who comes off as a dick is the joker himself. The most recent Improv Everyone joke, featuring a restroom attendant at a Times Square McDonald's, is a great example of pure entertainment that doesn't make anyone undeserving look like an idiot. Check it out.
February182005
Filed Under Stand-Up Comedy
Gallagher can't stand that he was only #100 in Comedy Central's "100 Greatest Comedians" list. So he rallied his fans in an ineffectual gesture against his ranking in the who-gives-a-shit list. He had them rank all the comics in the list on "Funny", "Original/Ad Lib" and "Performance" and not only did he top the chart on his own site, he topped every one of those categories as well. Above Carlin and Pryor!
Louis CK (#99 in the CC list), who Gallagher ranted against because he's never heard of him (which could be a sign of why he's at the bottom), is now #100. Louis CK, states on his message board that though he's "not proud to be at the bottom of (Comedy Central's) list", he is "proud to say I came in dead last" on Gallagher's.
Filed Under Movies
The South by Southwest festival has put up a trailer for a documentary about Sarah Silverman's stand-up show “Jesus is Magic.” (click on the low bandwidth version, the high doesn't seem to work at all). I saw the show a couple of years ago, but from the short bits shown none of stand-up looks new. But this looks to be more than just a concert film with sketches and songs interspersed throughout, almost like a TV show development execs should have been begging her to make but probably couldn't, since the trailer has at least two jokes that could cause a “chink” controversy, 'cept with a different ethnic group. Like “Aristocrats,” I'm hoping this film gets enough distribution to be an underground hit.
February162005
Filed Under Print, Stand-Up Comedy
A conference is attempting an academic feat that, to some, is akin to trying to prove pi repeats. They’re trying to show that the Bible’s pretty funny, actually.
To me, this actually makes complete sense. When you’re the underdog, the victim of persecution (in this case Romans), one of the best weapons you have is satire and being funny. It’s only once you become establishment do you tend to become humorless. It’s no wonder that the conference, entitled “Laughter and Comedy in Ancient Christianity” focuses on the early days, where, apparently, parodies of Adam and St. Peter were appreciated, and not feared.
Of course, there are some, like Brad Stine, who are trying to connect comedy and modern Christianity (of the evangelical variety yet) as reported by the New Yorker. Interestingly, a comic like Stine has arose at a time when evangelicals claim they feel persecuted by Hollywood, activist judges, etc., etc. Do people only attempt comedy when they think they’re getting kicked in the face?
February102005
Filed Under Stand-Up Comedy
The New York Comedians Coalition has been pretty good about getting coverage for their cause, even if those stories have cliched “no joking” ledes like the one in Tuesday’s New York Times. Most of New York’s eleven (11!) comedy clubs have already agreed to raise rates for the comics, although the article suggests that the new expense might be passed on the club-goer.
The last four hold-outs in the negotiations according to a letter to Coalition membership posted at cringehumor.net are Dangerfield’s, Standup NY, the New York Comedy Club and the New York Improv. The Times articles mentions that contacts have been made with all the clubs, so picket lines, as of now, sound unlikely.
Also posted in the same message board thread is a letter from Improv owner Al Martin where he makes the case for why he does not want to give all of the raises demanded by the Coalition. It’s a pretty compelling argument, if he had to start paying the spots set aside for developing act the same as he would “a-line” comics, it’s likely that he’d stop booking those spots for young talent. Though it’s hard to imagine what’s good for an industry when you’re trying to take care of your pocket, ensuring young comedians get exposure, even if means less money, is essential to keeping a vital industry. I won’t pretend to understand the economics of a comedy club, but I don’t believe either side has the luxury of being “right” (though the comics certainly lean more that way, considering how low their price per set was before).
According to the Coalition’s web site, the group will vote to accept or reject club’s offers this afternoon at 2:30 PM. We should know what raises and compromises have been made soon.
February092005
Filed Under Sitcom
Great details on the process of making “Arrested Development” in the AV Club’s interview with creator Mitchell Hurwitz. Earlier I wondered just how Hurwitz’s time on the “Golden Girls” helped him with “Arrested.” He clarifies here that his (and Arrested’s) style of intertwined storylines and connecting disparate elements developed because he felt he lacked the “hard joke” style demanded by “Golden Girls.” The influence is indirect, but makes total sense to me now.
Mitchell often attributes “The Sopranos” as an influence and that too is made more clear here. Though it’s easy to see how characters like Gob and Buster are flawed, to Mitchell even Jason Bateman’s Michael is flawed, but in a sympathetic way like Tony Soprano. Hurwitz details insight into the character that reveals why this show is so dense. There is a lot going on with these people. Earlier in the interview Mitchell talks about how many writers use shorthand to create characters (in “Arrested,” a conservative brother and a liberal sister). What’s obvious after reading the interview is how many other creators stop there.
Also in the interview is the harrowing tale of how “Arrested Development” tested. The desire of executives to put their “no” in someone else’s hands has developed into a ridiculous attempt to scientifically monitor enjoyment by a simple dial. Though Hurwitz describes metering audiences as insane, but ultimately concedes that the process helped him discover the end of the pilot needed work. Even with that admission, it’s pretty obvious that losing these ludicrous meters would go a long way to improving mainstream movies and TV. Besides, such focus testing is notoriously ineffective.
February022005
Filed Under Awards, Movies
On Blogging Sundance, Jason Calacanis wonders if there should not be a separate award at the Sundance Film Festival for Comedy, citing that funny films just can’t compete against films that are “socially important.”
I’m of two minds on this. I can see the value of having an award… comedy is far too often overlooked, not just for awards, but as something that does contribute to society in valuable ways. Having a separate award would certainly give some well-deserved attention on people not grinding out ha-ha films for Hollywood. And it could start creating a higher standard for film comedy, which tends far to often to rely on premises that are only sketch-thin.
But I dislike putting comedy aside, like it’s something incapable of reaching the heights of a dramatic film. It can and has (see “Doctor Strangelove”). Look at how powerful late night monologues have come about defining our political leaders, traits that were broadly stroked by Johnny Carson have become pinpointedly defined by Jon Stewart. There’s no reason why film comedy can’t be as effective in defining our times.
I’m also well aware that a reason why comedy can reach people better is that they’re guard is down. They aren’t expecting something good for you… something “socially important.” Let dramatists beat people over the heads with “points” and receive the accolades. Far better to be ignored and have the ideas sink in the back way.
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